About The Production
Jon Shestack and Scott Rosenberg had been wanting to work together for many years and "This," says Shestack, "was the right thing
Jon Shestack and Scott Rosenberg had been wanting to work together
for many years and "This," says Shestack, "was
the right thing."
"This story was conceived at the tail-end of the Bush administration,"
Shestack explains. "The national rhetoric was ridiculous...Prozac
was topping the charts and Ritalyn was running a close second.
What's both touching and frustrating about interacting with teenagers
is that they feel things very directly - they don't have much
of a filter and sometimes not much perspective. Disturbing Behavior
takes the Ritalyn generation to the next level, and in this case
the teenagers have a very good and legitimate reason to be paranoid
about what their parents are planning for them."
Shestack and Armyan Bernstein had a director in mind whose career
has included some of the most compelling and cinematic television
that had ever aired. "David Nutter really carved his own
niche with his work on shows like The X-Files and Millennium,"
Bernstein notes. "He was in a position to do any project
he wanted and we were really lucky that he wanted to do this."
"I've read a lot of horror movies lately, but what made this
one so terrifying is that it's not so far out there that you can't
touch it and be affected by it," Nutter says. "It was
very important to me to make a film that has enough dimension
that people can see themselves in it. Not just teenagers, but
also parents as well."
Production began on January 19 and shot for three months on location
in Vancouver, B.C., a popular filming locale known for its rich
environmental diversity. "Vancouver is the place where you
can make this much money look like a lot more," Nutter says.
"It was very important to come to Vancouver and find people
that wanted to do something very special."
Nutter brought director of photography John S. Bartley, who previously
worked with Nutter on The X-Files and created that series'
trademark moody cinematography. Bartley relished the opportunity
to create a whole new look for Disturbing Behavior's Cradle
Bay. "The key idea for this film is plausibility," says
Bartley, "so there can't be any far-fetched lighting -- nothing
that calls attention to itself. We also wanted to give this film
a very high contrast look to provide a feeling of heightened tension
between the surface presentation of Cradle Bay, where we've used
a lot of saturated colors like the blue and yellow of the Blue
Ribbon Club's jackets, and Caldicott's underground laboratory,
which is very dark and where there is an obvious absence of color."
Production Designer Nelson Coates echoes David Nutter's commitment
to grounding the bizarre and macabre elements of the story in
a very naturalistic setting. "I'm constantly trying to work
common everyday things into the design, things that I tweak a
little so the overall effect is a plausible kind of warp,"
he explains. "Ultimately, this is a cautionary tale, so it's
important that the audience have something invested in it."
"As a teenager your clothing is very much a uniform of belonging,"
says costume designer Trish Keating. "In order to emphasize
the opposing camps within the school, we took the costume elements
to extremes so we could place Steve, our protagonist, somewhere
in the middle."
For the Yogurt Shoppe where the school's "Blue Ribbons"
hang out, Coates designed t
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